From Canvas to Flatness: A ready-made perspective
Keywords:Flatness, Canvas, Readymade, Duchamp
AbstractThis essay investigates the possibility of flatness in painting through the lens of readymade. In this perspective, the concept of flatness is questioned through its physical reduction as a white canvas. Through a creative gesture without leaving a mark, the artist invites viewers to think about the beginning and the end of painting. In other words, viewers can perceive something where they cannot directly see something. Because all untouched canvases are achromatic industrial sculpture composed by a high number of tiny asperities and a complex variation of shadows, they can actually not be considered as the phenomenalization of flatness. This claim is supported by several images illustrating the fractality of flatless canvas. In this context, this article analyzes the perceptive dimension of canvas as readymade by switching the focus of observers from painted elements (what is painted) to the painting ones (what composed the painted elements). In such context, this paper discusses the perception of untouched canvases as an experience of the flatness referring to the beginning and the end of painting.
De Duve, Th. (1989), Resonance du Readymade: Duchamp entre avant-garde et tradition. Paris: Hachette Editions.
De Duve Th. (1991), Pictorial Nominalism. Minneapolis: University of Minesota Press.
Duchamp M. (1961), A propos of Readymade, The Essential Writing of Marcel Duchamp. London: Da Capo Press.
Kandinsky W. (1987 ), Reminiscences, New York: Moonkosh Press.
Graw I., Birnbaum D. and Hirsh N. (2014), Thinking through Painting: Reflexivity and Agency beyond the Canvas. New York: Sternberg Press.
Greenberg, C. (1960). “Modernist Painting”, in: Voice of America Forum Lectures (Washington, D.C.:, 1960); repr. in: Clement Greenberg, The
Collected Essays and Criticism, IV: Modernism with a Vengeance, 1957–1969. John O’ Brien (Ed.), p. 85. University of Chicago Press, Chicago, IL, USA, 1993.
Greenberg C. (1962), “After abstract Expressionism”, Art International, vol. 6, no 8.p.30.
Riout D. (1996), La Peinture Monochrome. Paris: Jacqueline Chambon Editions.
Saint-Martin, F. (1980). Les Fondements Topologiques de la Peinture. Montreal: Editions Hurtubise.
Satie A. (2000), Reflexions sur le Carre Blanc de Malevitch et sur l’oeuvre imaginaire, vierge d’intervention d’Isidore Isou. Paris: Editions Mona Lisait.
Schinckus C. (2018), “Delimitation of flatness”, Art & Perception, Vol. 6 (1), p.67 – 75.
Schinckus C. (2020) “A Visual Epistemology of Readymade”, Journal of Genius and Eminence, vo.5 (1) 2020 p.53-63.
Stangos N. (1974) Concepts of Modern Art. London: Thames & Hudson.
Wolfe, T. (1975). The Painted Word. New York: Farrar, Straus and Giroux.
Zhang J. (2018), Photographer’s Ideas and Constructed Social Reality: Conceptual Photography of Jeff Wall, Dissertation, University of Leiden, Netherlands.
Authors who publish with this journal agree to the following terms:
- Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.
- Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
- Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).